Jason McFadden and Sean Barry of Fifth Beetle Records, Ontario, for their generous support in the making of this record.

REVIEW

If Galaxie 500 had gotten together in Dunedin, New Zealand, instead of Cambridge, MA, they probably would have sounded something like Uncle Wiggly. This New York City trio's mix of scrappy indie pop, delicate and nearly psychedelic reveries, and tightly-wound instrumentals should, by all logic, be too unfocused and eclectic to really work; but it's these last two elements of the group's sound that makes Uncle Wiggly unique. The choppy "Yr. Hed" sounds like any of a dozen Superchunk-influenced indie bands could have recorded it, while the dreamy "Mary's Crayons" and the twisty loud-soft dynamics and Kiwi-style rush of the centerpiece track, "Purple Threat," are far more substantial and unique. Jump Back, Baby has better production values and a cleaner sound than the lo-fi efforts that preceded it, but the trio's songwriting and performance remain agreeably skewed, making the album an often intriguing mix of styles.

- Stewart Mason, All Music

"A New York institution for a decade, Uncle Wiggly were a spectacularly loose, weird, inventive trio of multi-instrumentalist singer-songwriters, with one foot planted in psychedelic AM-radio pop and the other in avant-garde and experimental music. This 1996 album leans more toward the former side - it's comprised of 16 terse, relatively orderly tunes, with lots of delicate little riffs; but chewy bits of dissonance, drone and heavy gnarl turn up all over. It's also got some of the spiffiest individual songs by all three members: try Wm. Berger's triumphantly monomaniacal processional 'Rat's Rabbits,' James Kavoussi's fevered Beefheartian singalong 'Imbeciles,' and Michael Anzalone's vindictive, Fall-inspired rocker 'Yr. Hed.'"

- Douglas Wolk,eMusic

ET CETERA

James Kavousi is mistakenly not credited with playing any instruments on the compact disc digipak, but is credited on the Japan edition.

Wm. Berger is a long-time disc jockey at radio station WFMU in New Jersey.

The original catalogue number for this album was Teen-Beat 145.

The "table 2" referenced in the thank-yous, or "props," refers to the table at the Teen-Beat Banquet where Uncle Wiggly were seated.